Pioneering? Certainly, in the sense that it laid the groundwork not only for a righteous appreciation of Jamerson’s talent and influence, but also of the entire magic circle of Motown musicians. The definitive account of this life, of musical triumphs and personal tragedies, is Allan Slutsky’s pioneering Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson. Jamerson’s name was among them, the start of recognition that would lead eventually to public praise and worship, a legacy as strong as ever on what today would have been his 85th birthday. To fully understand these technical descriptions? Just listen to “Bernadette.” Or “I Was Made To Love Her.” Or “You Can’t Hurry Love.” Or the last minute of Diana Ross’ full-length “Ain’t No Mountain High Enough.” Or the hundreds of other recordings on which Jamerson can be heard, his genius appreciated, as one of the foundational players of the Motown house band from 1959-72.Īnd when the 50th anniversary of the release of What’s Going On arrives in a few months, we’ll be reminded that the original LP was significant for identifying all the musicians on it – a Motown first.

“James Jamerson wrote the bible on bass line construction and development, feel, syncopation, tone, touch and phrasing,” they noted, “while raising the artistry of improvised bass playing in popular music to zenith levels.”

Rolling Stone observed that the musician “helped revolutionize the field, jolting his parts with extra syncopation, additional chords that added melodic depth and complexity, and tonal choices that evoked gospel harmony.” Three years earlier, the editors of Bass Player – who better? – slotted him at the top of their 100-strong list of the greatest bass players.

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